Listening to this recording is similar to having a knowledgeable friend spin some tunes that fit together in many likely though not necessarily expected ways. It is a “mix tape” of sorts that features disparate artists such as conga master Poncho Sanchez as well as the late vocalist of Bourbon Street acclaim Big Al Carson. The common denominator here is, of course, the rhythm of the songs with Sanchez working on a lively version of “Going Back to New Orleans” written by Joe Liggins—made hugely popular by Dr. John—that includes some fine vocals by New Orleans’ own Ledisi. Meanwhile Big Al goes to the Hank Williams’ classic “Jambalaya,” that’s most associated with Cajun and zydeco music, though here has a distinctly Latin feel. All the material, which focuses on the Cuba’s influences on New Orleans’ unique beats, has previously been released on various albums.

It has been clarified that the legendary pianist, composer and vocalist Jelly Roll Morton actually called the infusion of Cuban influences the “Spanish tinge,” rather than the more common, and perhaps more accurate term, the “Latin tinge,” when referring to the habanera rhythms heard on such New Orleans classic jazz tunes as “St. Louis Blues.” That certain sway, certainly can be appreciated on Big Chief Bo Dollis and the Wild Magnolia’s wonderful “Coconut Milk,” a too rarely heard tune. Appreciated too is Zazou City’s pianist and leader Bart Ramsey’s original, “Mañanita” with fine solos by trumpeter Charlie Miller and saxophonist Aurora Nealand.

Keeping in the Latin tinge theme of the album are contributions from the Neville Brothers’ “Yellow Moon,” the Preservation Hall Jazz Band’s “Kreyol” and more.

New Orleans Mambo succeeds in presenting a varied and satisfying program of music that illustrates New Orleans rhythmic connection to its Caribbean neighbor and the African diaspora.